日本語
English
Host’s Greeting
Thank you very much for attending the “Princess Adachi Opera” today. Princess Adachi is a legendary figure from Adachi Ward, which has a history of 1300 years, and she garnered significant support during the Edo period for the belief that “one can be happy until the next life.” This work is a new challenge to express the Princess Adachi legend through the comprehensive art of opera, combining music and theater, and to convey the history and culture of Adachi Ward both domestically and internationally. Next year marks the 400th anniversary of Senju, a significant milestone. We hope that this rich history will serve as a catalyst to connect a culture that the next generation can be proud of to the future. Please enjoy the performance until the very end.
By Rojicoya Yoshika Yonemoto
Act1.
Sakura and Ume have their hair combed for the last time at their family home before moving on to their new homes.
Momo comes to the two of them with a withered flower in her hand.
Sakura soothes her lament and, left alone in the room, speaks of her unquenchable “Thirst.”
Then the maids announce that an envoy from her husband’s family has arrived.
Sakura tells them to decorate the room for their father who remains at home and then leaves.
Beautifully decorated their father’s room.
Momo has returned and is alone, worrying about her future.
Act2.
Sakura and her family are not getting along well, causing discord.
After hearing Momo’s sad words, Sakura decides to return to her hometown.
When Ume is alone with Momo, she reveals that she is Sakura’s real mother, and worries that she may be causing Sakura pain because of her lowly status.
Sakura, who overheard Ume’s conversation, sees the fate of “Thirst” and comes to realize that it is “Death.”
Act3.
Sakura, who overheard Ume’s conversation, sees the fate of “Thirst” and comes to realize that it is “Death.”
Sakura, who overheard Ume’s conversation, sees the fate of “Thirst” and comes to realize that it is “Death.”
When the maids find out that Sakura is planning to drown herself, they offer to accompany her even if it is a journey to her final resting place, and Sakura gives them permission.
Then Ume was unable to die alone so she returns.
Momo tries to stop them from drowning, but in the end she reveals her hidden feelings for Sakura, and they all sink to the bottom of the water.
This story is based on the “Roku Amida Nemoto Mokuyari Nyoraikyaku Engi” and the “Ryutouzan Shououji Engi-e”, which are passed down at Shououji Temple in Ougi, Adachi Ward.
Story Summary
Princess Adachi, burdened by sorrow after facing hardships at her husband’s home, threw herself into the depths of the Arakawa River on her way back to her hometown. Following her, 12 loyal maids also ended their lives by drowning in the same river. This took place during the reign of Emperor Shoumu in the year 724 (Jinki 2).
After her death, her father, a court minister, mourned her loss and carved six Amida Buddha statues from sacred wood overnight to console her spirit. These statues were placed in six villages. A small hermitage was also built beside her grave, where the “Mokuyari Nyorai” (a leftover wood Buddha) was enshrined.
This event gave rise to the “Roku Amida Pilgrimage” (Roku Amida Mairi), a journey to pray for the repose of Princess Adachi, her maids, and for the happiness of women. From the Edo period onward, during the cherry blossom season in spring and the autumn equinox, many women from Edo visited Adachi Ward, combining leisure with the “Edo Roku Amida Pilgrimage”, which became a widely popular tradition.
Director’s Notes
色は匂へど 散りぬるを
The color is smelly and it will be falling
我が世誰ぞ 常ならむ
Who will live in this world forever
有為の奥山 今日越えて
The Deep Mountains of UsefulnessOvercoming today
浅き夢見し 酔ひもせず
Shallow Dreaming In a drunk state
Although the flowers are colorful, they will eventually wither.
Who in this world can remain the same?
As if crossing a mountain, this world of impermanence, someone will continue to live today.
Who will not dream of fleeting dreams, nor spend their time in drunkenness?
When I first heard the words “Adachihime,” the connotation of the word “Hime” made me imagine a gorgeous and elegant story.
“Hime” means princess.
Despite having lived in Adachi Ward for several years, I am ashamed to say that I didn’t know anything about the legend of Adachi Princess until I was approached about this performance.
I went to the library and looked through the folklore of Adachi Ward, and found a few pages about the story of Princess Adachi.
A beautiful princess is bullied by her mother-in-law after marrying and ends up throwing herself into a river with 12 maids.
The story goes that the sacred tree that the princess’s father, in his grief, threw away at Kumano Gongen, arrived in Adachi, and Gyoki then carved an image of Amida Buddha into the tree to mourn the princess and her maids.
During the Edo period, the “Six Amida Buddha Tour” was held to pray for women’s happiness.
It is said that it became popular to make pilgrimages to temples associated with the legend of Princess Adachi.
Apart from that, Adachi Ward has a legend based on the “KeNaga River,”
In this story, too, the woman has problems at her husband’s home and ends up drowning herself.
Their steps towards “Death”.
Of course, there is a decisive factor in this, namely discord with the family she is marrying, but
In turning this into an opera, I wanted to look into the darker side, like the depths of the water, that doesn’t just remain there.
In opera, there are many women who choose death.
Among them, the piece I had in mind this time was Poulenc’s 《Dialogues of the Carmelite Nuns》 and 《Suor Angelica》 by Puccini.
The former are the martyrs who perished under the guillotine, the latter depicts a nun who, having lost all hope, turns to poison, both operas feature several female protagonists.
Thirteen women appear in this work, 《Princess Adachi》, and all of them die by drowning.
It is indeed an “abnormal” event, I think this is brought about by each person’s biased thinking, hopeless circumstances, and closed world.
In particular, in this work, the desire for “somewhere other than here” is expressed through the word “thirst.”
“Soft” yet “chronic” despair that is deeply rooted in human nature.
While I was writing the script, the word “Ah” came out of my mouth, I realized that this despair was “Ah = disease”.
Disease requires resistance, and one of the things that nourishes that resistance is tragedy.
Prayers for “happiness,” which were popular in the Edo period,
Perhaps it was only possible because they were looking at the polar opposite of “despair.”
When the beautiful cherry blossoms fall, it is said that we feel something called “pathos”.
Not only is it beautiful, it may also be wrapped in sadness or loneliness, but it may also be something different.
I can’t help but feel that this is where we find our reason to live.
I would be delighted if today’s performance could serve as “the ABCs” of discovering your own sense of “pathos.”
Naoyuki Sumi 角 直之
Composition Notes
This work is more than any other opera I have composed up until now, with a style “Wa” that Japanese values harmony, and the influence of Kabuki and Noh can be seen everywhere.
On the other hand, the sounds (chords) used are inspired by modern classical music, jazz, and even medieval Gregorian chant,
this disjointed atmosphere portrays the legend of “Princess Adachi,” which has not been well known until now, from a more fantastical and mysterious perspective.
This work features three “Flowers” and ten “Leaves,” but does not use a leitmotif (thematic motive), a common device in opera.
Instead, short motifs that represent “Flowers” or “Petals and Leaves dancing” are present throughout the song, and the aria melody is created based on these short phrases.
Conversely, song phrases that appear in arias and duets can sometimes have important meaning (as a result, these aria phrases play a role equivalent to that of a leitmotif).
The emotions of the characters are greatly influenced by the musical accompaniment (background), when the characters are in a calm mood, the harmonies are beautiful, but when they become unstable, the music goes beyond minor and becomes sinister, almost atonal.
If the rhythm is positive, the rhythm will be relatively stable, but if it’s negative, the rhythm will have an indivisible number of notes, such as five beats or quintuplets, and the foundation will become unstable.
Also, as the story nears the end and “Death” comes to be foreshadowed, the unpleasant clash of minor second notes becomes more noticeable.
When “Death” becomes a reality, the minor second begins to dominate the piece. (Strictly speaking, if you listen closely you can hear it faintly from the beginning, but it blends into the background.)
Syuwa Nagai 永井 秀和
（「花」のモティーフの例
the motif of “Flowers”
「花弁や葉が舞う様」のモティーフの例
the motif of “Petals and leaves fluttering”
「花の三重唱」のテーマ
the theme of “Flower Trio”
短2度の例
two examples of minor second）
－Opera Princess Adachi – Cast & Staff－
Composer: Hidekazu Nagai
Graduated from the Composition Department of the Tokyo University of the Arts.
Nagai has composed music for the Camerata Project’s small theater operas such as “Izumo no Okuni,” “Hako,” and the mono-opera “Ichi to Shi Ikerumono.”
He served as music director for the film “A Japanese Boy Who Drew,” which won the Semi-Grand Prix and the Gemstone Award at the PFF Award 2018, among many other accolades.
Nagai composed the music for the web commercial celebrating the release of volume 5 of “Sousou no Frieren.” As an arranger, he participated in “Hatsune Miku Symphony,” hosted by Warner Music Japan.
His orchestral arrangements include “Uchi de Odorou” by Gen Hoshino and “Hoshikage no Yell” by GreeeeN, both of which became major cultural movements. He also contributed to the “Yuya Tegoshi Symphonic Concert” as an arranger.
Alongside conductor Kyotaro Sawamura, Nagai launched the “N nulls” project, which presents a new perspective on classical music to the world, focusing on digital releases.
He plays piano for the band “Yuran Fune,” led by Ital Uchimura, while also composing for numerous concerts and visual media. As a pianist, he participates in ensembles and engages in genre-defying musical activities with his distinctive style.
Libretto & Director: Naoyuki Sumi
Naoyuki Sumi graduated from the Musicology Department at Tokyo University of the Arts and attended the Konwitschny Opera Academy in 2014 as a stage director. Over the years, he has directed a wide range of operas, including “The Magic Flute,” “Così fan tutte,” “Don Giovanni,” “The Marriage of Figaro,” “La serva padrona,” “L’elisir d’amore,” “Rita,” “Lucia di Lammermoor,” “La Bohème,” “Madama Butterfly,” “Tosca,” “La Traviata,” “Faust,” “Cyrano,” and “Andrea Chénier.”
Among his notable works are “Izumo no Okuni,” a small-theater opera that was performed across Japan in Izumo, Tokyo, Chiba, Fukuoka, and Fukui, as well as in an invited performance at WMF. He also directed Agency for Cultural Affairs AFF-funded operas “Hako” and “Ichi to Shi Ikerumono.” Sumi’s production of “Aoi no Ue no Awai” received support from Arts Council Tokyo, while works such as “IWATO-GAKURE” (Re:boxcreators), “Kan” (A&S On-Site Performance), and “Drifting Strangers/Summer Journey” (Music Lab C-203) further showcase his versatility.
In addition to his work as a director, Sumi has authored librettos, including “Sorekara! Koumori,” and has written lyrics for school songs at Choyo Elementary School and Tabuse Elementary School in Izumo. His other lyrical compositions include “Zokubutsu,” “Seibutsu,” “Reading in the Box,” and the digital collaboration “Infinity of Many Things,” which integrates projection mapping art.
Sumi was a finalist in the libretto category of the Sawakami Opera Foundation’s 1st Japanese Opera “MITSUKO” Competition and was selected for the 1st Stage Arts for the Future Fund. He is a member of the Japan Directors Association and serves as the leader of the Camerata Project.
Conductor: Kento Takeuchi
Born in Kitakyushu, Fukuoka Prefecture, Takeuchi began piano at age 4 and saxophone at age 10. He graduated from the Saxophone Department at Senzoku Gakuen College of Music and went on to graduate from the Conducting Department at Tokyo University of the Arts.
In 2016, he was selected as a finalist in the WMC-WBAS Intercontinental Conducting Course. He has been highly praised for guest conducting professional and amateur ensembles, not only in the Kanto region but also in Fukuoka.
Takeuchi has attended masterclasses by Tadaaki Otaka, Zsolt Nagy, László Tihanyi, and Douglas Bostock.
He studied piano under Yumiko Kamioka, Souichiro Tobase, and Yu Yoshitake; saxophone under Noriko Eguchi, Masato Ikegami, and Nobuya Sugawa; and conducting under Toshinobu Kawamoto, Hideomi Kuroiwa, Kazufumi Yamashita, and Ken Takaseki.
Takeuchi holds the following positions:
Conductor of the JR East Japan Symphony Orchestra
Chief Conductor of the Keio University Wind Ensemble OB Band
Permanent Conductor of the AZUMA Wind Ensemble
Permanent Conductor of the Green Heart Wind Ensemble
Permanent Conductor of the Shin Sanyu Choir
Permanent Conductor of the Tokyo Saxophone Orchestra
Conductor of the Fukuoka Saxophone Orchestra
Permanent Conductor of the Senzoku Game Music Brass Ensemble
Cast: Makiko Yoshime (Soprano)
Hailing from Oita Prefecture, Makiko Yoshime graduated from the Vocal Music Department at Kunitachi College of Music and completed her graduate studies at the same institution. In 2013, she studied in Florence, Italy, as part of a Cultural Affairs Agency overseas trainee program, and in 2023, she continued her studies in Munich, Germany.
Yoshime made her operatic debut with the role of Pamina in “The Magic Flute” with Nikikai. Since then, she has appeared in several notable productions, performing roles such as Susanna in “The Marriage of Figaro,” Zerlina in “Don Giovanni,” Nedda in “Pagliacci,” Rosalinde in “Die Fledermaus,” Agathe in “Der Freischütz,” and the Young Woman/Ui-ko in “The Temple of the Golden Pavilion.” She also portrayed Hanna in “The Merry Widow.” In 2018, she made her European debut in the French premiere of “The Temple of the Golden Pavilion” at the National Opera of Lorraine.
Yoshime’s extensive repertoire includes roles such as Fiordiligi in “Così fan tutte,” Micaëla in “Carmen,” and Mimì in “La Bohème.” She has also performed in the mono-opera “Ichi to Shi Ikerumono.”
As a soloist, Yoshime has collaborated with leading orchestras in performances of major works such as Beethoven’s “Symphony No. 9,” Haydn’s “The Seasons,” Fauré’s “Requiem,” and Elgar’s “The Kingdom.” She has given recitals at CHANEL, Toppan Hall’s Espoir Series, and Tokyo Opera City’s B→C series to critical acclaim.
She has appeared on media platforms such as the NHK New Year’s Opera Concert and is currently a member of Nikikai. In addition, she serves as a part-time lecturer at Toho Gakuen School of Music and Tokyo College of Music.
Cast: Tomomi Watanabe (Soprano)
Tomomi Watanabe, a native of Yamanashi Prefecture, graduated from the Vocal Music Department at Tokyo University of the Arts and completed a master’s degree in opera performance at the university’s Graduate School of Music. During her studies, she received the Ataka Award and was honored with the Acanthus Music Award and the Doseikai Award upon graduation. Her exceptional academic achievements earned her a performance slot in the 380th Regular Concert of the Geidai Philharmonia Orchestra.
Watanabe made her full operatic debut as Pamina in the 64th Geidai Opera Production of “The Magic Flute.” She has since performed roles such as Despina in “Così fan tutte” and Achilles in “Deidamia.”
Beyond opera, Watanabe has appeared as a soprano soloist in major works, including Beethoven’s “Symphony No. 9” and Brahms’ “Ein deutsches Requiem.” She has also showcased her talents in singing and recitation for the “Tsuki ni Madofu” series by composers Yushi Yukikawa and Hiroaki Fujikawa. Notably, she performed the role of Ai in the world premiere of the opera “Hako,” with a libretto by Naoyuki Sumi and music by Hidekazu Nagai.
Watanabe’s accomplishments include winning the Yamanashi Prefectural Culture Festival Award in the 17th Yamanashi Music Festival and achieving first place in the 1st International Vocal Competition Tokyo Grand Prix Division, along with the Tokyo Shimbun Award.
She has studied voice under Yoshinori Ohtsuki, Tetsuya Ohno, and Ryo Sakurada. Watanabe is a member of Nikikai.
Cast: Akiko Fukuma (Mezzo-Soprano)
Originally from Izumo City in Shimane Prefecture, Akiko Fukuma graduated from Kunitachi College of Music and completed the Master Class at the Nikikai Opera Training Institute. In 2005, she earned a diploma after participating in a masterclass led by E. Blahová in the Czech Republic.
Fukuma made her professional operatic debut in 2011 as the Third Lady in “The Magic Flute” during the Agency for Cultural Affairs’ artist development program. She has since performed in numerous roles, including “L’enfant et les sortilèges” as the Chinese Cup in Nikikai’s New Wave Opera Theater and Tolomeo in “Giulio Cesare.” In 2018, she debuted with Nikikai’s main stage as the Nursing Sister in Puccini’s “Suor Angelica.”
At the New National Theatre’s Opera Appreciation Class for High School Students, she covered roles in “The Magic Flute” in both 2020 and 2023. Fukuma has also performed key roles in productions such as “The Marriage of Figaro,” “The Barber of Seville,” “La Traviata,” “Gianni Schicchi,” and “Jenůfa.”
Fukuma’s performances in newly created Japanese operas include “Juliet” (YNO, 2014), “The Giant Turnip” (Kanagawa Hama no JACK, 2020), “Hako” (Camerata Project, 2021), and “Yama to Umineko” (Matsumoto Civic Opera, 2022–2023).
In addition to opera, she has directed and performed in numerous concerts, including “Concerts at Temples” and “The Six Mezzo-Sopranos.” Fukuma is a member of Nikikai and the New National Theatre Chorus.
Ensemble: Yuki Kimura (Soprano)
Born in Chiba Prefecture, Yuki Kimura graduated from the Vocal Music Department at Tokyo University of the Arts and completed her master’s degree in vocal performance at the same university. During her graduate studies, she focused on Japanese art songs, researching their performance style influenced by traditional Japanese music through collaborations with Japanese instrumentalists. She obtained a diploma after completing the masterclass of Sona Ghazarian at the University of Music and Performing Arts Vienna. Currently based in Tokyo, Kimura performs across a variety of genres, including classical music, theater scores, and video game music. She studied under Tomoko Yamaguchi, Chieko Shimohara, and Tomoko Shimazaki. Presently, she serves as a research assistant at the Tokyo University of the Arts Graduate School of Music.
Ensemble: Harue Yamaguchi (Soprano)
Originally from Fukuoka Prefecture, Harue Yamaguchi graduated at the top of her class from the Vocal Course at Showa University of Music. She went on to complete her master’s degree in opera at the university’s Graduate School of Music, receiving the President’s Award upon graduation. She studied under Kunika Nagafuchi and Masanobu Shibayama and attended masterclasses led by D. Mazzola, Ke Gu, E. Palacio, and C. Santoro.
Yamaguchi appeared frequently as a member of the Showa University of Music Choir on the BS-TBS television program “Nihon Meikyoku Album.” Her notable roles in university opera productions include Despina in “Così fan tutte” (2021, video production), Susanna in “The Marriage of Figaro” (2022), and Adina in “L’elisir d’amore” (2023). She performed at the 90th Newcomer Concert organized by the Yomiuri Shimbun and was a prizewinner at the 5th Kawasaki Newcomer Vocal Competition. She also won second place in the Emerging Vocalists Division of the 6th Margherita Grilmi Vocal Competition.
Ensemble: Emi Matsubara (Soprano)
A native of Yonago City, Tottori Prefecture, Emi Matsubara graduated from the Vocal Music Department at Tokyo University of the Arts. She completed the Tokyo Nikikai Opera Training Institute’s 65th Preparatory, Regular, and Master Classes. Matsubara has studied under Chieko Teratani, Eiko Hiramatsu, the late Hiroshi Okuda, Kohei Yamamoto, and Atsuko Adachi. She also received guidance from renowned Armenian soprano Arax Mansourian in masterclasses.
Matsubara’s accolades include second place in the 39th Kanagawa Music Competition Professional Division and an Excellence Award at the Taki Rentaro Memorial All-Japan High School Vocal Competition. Her operatic roles include Fiordiligi in “Così fan tutte” and the Countess in “The Marriage of Figaro” with MOZART SINGERS JAPAN MINI, as well as Countess Stasi in “The Gypsy Princess” with Y’s Company. She is currently an associate member of Nikikai.
Ensemble: Mire Chon (Soprano)
Hailing from Kyoto Prefecture, Mire Chon graduated from the Music Department of Doshisha Women’s College and completed its postgraduate music program. During her studies, she performed as an aria soloist in orchestra concerts for two consecutive years and also appeared in the graduation and completion recitals. Chon went on to complete her master’s degree in solo vocal performance at the Tokyo College of Music Graduate School, focusing on French art songs while expanding her repertoire across various languages.
She performed at the 87th Newcomer Concert hosted by the Yomiuri Shimbun and received the Kyoto Mayor’s Award at the 33rd Kyoto Arts Festival Debut Concert. Chon completed the Nikikai Opera Training Institute’s Master Class with distinction.
Ensemble: Yuko Baba (Soprano)
Yuko Baba, born in Okayama Prefecture, graduated from Okayama Joto High School and went on to earn her degree from Kyoto City University of Arts. She later completed her master’s studies at Showa University of Music and subsequently joined the Fujwara Opera Company after passing an audition.
Baba studied voice under Yuko Deguchi, Tadamichi Orie, and Taemi Kohama. She was awarded fourth place in the 6th Tokyo International Vocal Competition and was a finalist in the 3rd Yasaburo Hirai Competition.
Her operatic performances include roles such as Amanjaku in “Amanjaku and Urikohime,” the Shepherd Girl and Squirrel in “L’enfant et les sortilèges,” Donna Anna in “Don Giovanni,” Caterina in “L’amico Fritz,” and Sandrina in “La finta giardiniera.” Baba was selected for Carmen Santoro’s masterclass hosted by the Fujwara Opera Company and appeared in the 1st Bel Canto Opera Festival in Japan.
In addition to her operatic endeavors, she has performed at outreach concerts and appeared in concerts organized by German music study groups. Since 2022, Baba has been actively holding solo recitals and duo concerts with pianists across Kanto, Kansai, and her hometown of Okayama. She is currently a junior member of the Fujwara Opera Company.
Ensemble & Cast Cover: Saori Sugita (Soprano)
Born in Yokohama, Kanagawa Prefecture, Saori Sugita graduated from the Vocal Music Department at Tokyo University of the Arts and completed her studies at the Suntory Hall Opera Academy. She received second place in the university division of the 18th Japan Performers’ Competition, along with the Yokohama Mayor’s Award. At the 88th Yokohama Newcomer Concert, she was awarded the Kanagawa Shimbun Award, and she earned the Best Vocalist Award at the 5th Midori Music Festival Newcomer Concert. She also placed fourth in the university division of the 16th Great Wall Cup International Music Competition (where no first or second prize was awarded).
Sugita has performed key operatic roles, including Pamina in “The Magic Flute” and Musetta in “La Bohème.” She has also been active in contemporary operas, such as portraying the Fox in “The Little Prince” during the Tokyo University of the Arts’ 10th Sougakudo Project and playing the title role in the new opera “Izumo no Okuni.” In addition, she contributed to BS-TBS’s “Nihon Meikyoku Album” as a member of Ensemble Oasis. She has studied under Midori Minawa, Yoko Oshima, and Momoko Yuasa. Sugita is a member of the Yokohama Music Association and currently works as a music instructor at Kamakura Jogakuin High School.
Ensemble: Chihiro Takahashi (Soprano Lirico Leggero)
Chihiro Takahashi, a native of Kumenan Town in Okayama Prefecture, graduated from Tokyo Gakugei University’s Faculty of Education, where she specialized in music. She then completed her graduate studies in music education at the same university and earned a master’s degree in vocal performance at Tokyo University of the Arts.
Takahashi studied voice under Kazuhiko Yokoyama, Eiko Sugai, and Akira Yoshita. Her operatic repertoire includes roles such as Adina in “L’elisir d’amore,” First Spirit in “The Magic Flute,” and Mercedes in “Carmen.” In addition to her operatic performances, she has sung as a soprano soloist in sacred works by Beethoven, Poulenc, and Gounod.
Last year, Takahashi held a solo recital in her hometown of Okayama. In recognition of her achievements, she was appointed as a Hometown Ambassador for Kumenan Town in April of this year. Her efforts to promote opera in regional areas include performing highlights from “L’elisir d’amore” in May. She is currently an associate member of the Fujiwara Opera Company and the Japan Opera Association.
Ensemble: Akemi Obara (Mezzo-Soprano)
Born in Tokyo, Akemi Obara graduated from the Vocal Music Department at Tokyo University of the Arts and completed her graduate studies in music education at Tokyo Gakugei University. She also attended the Spazio Musica Vocal Course in Orvieto, Italy. Obara passed the Concours Vivant Newcomer Audition and has performed in various operatic productions, including Ida in “Die Fledermaus,” Osmina in “Suor Angelica,” Gianetta in “L’elisir d’amore,” Hansel in “Hansel and Gretel,” Cherubino in “The Marriage of Figaro,” Suzuki in “Madama Butterfly,” and Flora in “La Traviata.”
She has studied under Tomomi Ishigami, Noriko Sasaki, Tetsuya Ohno, and G. Ravazzi. Obara is currently an associate member of the Fujiwara Opera Company and the Japan Opera Association.
Ensemble: Arisa Yoshida (Mezzo-Soprano)
Arisa Yoshida graduated from the Vocal Music Department at Tokyo University of the Arts after studying at the Music Department of Kitakamakura Girls’ Academy High School. She studied under Kazumi Nagashima, Yuichi Urabata, Futoshi Katsube, Chieko Teratani, and Taro Ichihara.
Her accomplishments include winning the Encouragement Award at the 2011 All-Japan Student Music Competition Tokyo Division and receiving third place and the Excellence Award at the Kamakura City Student Music Competition. In 2016, she was awarded the Yokohama Mayor’s Award (highest honor) at the 87th Yokohama Newcomer Audition.
Yoshida has performed as a soloist in works such as Mozart’s “Coronation Mass” and Beethoven’s “Symphony No. 9.” In addition to her concert appearances, she has performed in BS-TBS’s “Nihon Meikyoku Album” and in Shiki Theatre Company’s production of “The Hunchback of Notre Dame.” She appeared as Carmen in the Tokyo New City Orchestra’s touring performance for the Agency for Cultural Affairs’ “Comprehensive Project for Children’s Cultural Development.” Yoshida also works extensively in game and anime soundtracks. She is a member of Ensemble Oasis, Mori no Ne Singers, and Sharone Singers, and serves as a Tuesday personality on FM Totsuka’s “Totsuka Idobata Kaigi VIVA Tuesday.”
Ensemble: Ai Noma (Alto)
Ai Noma, a native of Tokushima Prefecture, graduated from the Vocal Music Department at Tokushima Bunri University and later from Tokyo University of the Arts, specializing in alto performance. She completed both the master’s and doctoral programs in opera at the same university, earning a doctorate for her research on the vocal techniques of trouser roles sung by women in Gioachino Rossini’s operas, particularly focusing on ornamental singing.
Noma has studied under Yukako Inatomi, Kimiaki Kumagai, Kazuko Nagai, Yoko Hatama, and Yoshimichi Hamada. She is active across a wide range of genres, including opera, sacred music, and ensemble performances. As the head of Opera no Mado, a production group dedicated to creating new Japanese-language operas, she has produced premieres such as Kayoko Maeda’s “The Restaurant of Many Orders” (2018), “The Acorns and the Wildcat” (2021), “The Gathering of Thieves” (2022), and Asahi Matsuoka’s “A Love Story” (2024).
Noma has won first place in the 1st Yasaburo Hirai Vocal Competition and second place in the 28th Osaka International Music Competition Age-G Division. She currently serves as a part-time lecturer at Tokyo University of the Arts Music High School.
Shakuhachi: Eizan Yoshikoshi
Born in Kasugai City, Aichi Prefecture, Eizan Yoshikoshi studied Tozan-ryu shakuhachi under Living National Treasure Houzan Nomura. He graduated from the Department of Traditional Japanese Music at Tokyo University of the Arts and completed his master’s degree in the university’s Graduate School of Music. During his studies, he trained under Michiyama Fujihara and Koumei Takemura. In 2013, Yoshikoshi passed the NHK Traditional Japanese Music Audition and received the Excellence Award in the Japanese Instruments Division at the 30th Ichikawa New Performers Competition. He also won the Silver Prize at the 47th Tozan-ryu Honkyoku National Competition. He was a recipient of the Aoyama Music Foundation Scholarship in 2018 and the Nomura Cultural Foundation Scholarship in 2019.
In 2020, as part of the Agency for Cultural Affairs’ New Artist Training Program, Yoshikoshi studied classical honkyoku shakuhachi under Keisuke Zenyoji and performed ensemble pieces with Yamada-ryu koto under the guidance of Showa Yamanobe. He has made media appearances on TV Asahi’s “Untitled Concert” and NHK’s “Nippon no Geino.” Yoshikoshi actively performs a wide repertoire, from classical to contemporary pieces. He holds the title of Tozan-ryu Shihan (Master) and is a member of the Tozan-ryu Shakuhachi Association, the Tozan-ryu Houzan Society, the Japan Sankyoku Association, and the Japan Shakuhachi Players Network (JSPN). He is also a member of the traditional Japanese music group Housu.
Tsuzumi (Hand Drum): Rokon Tosha
Born into a long lineage of hayashikata musicians, Rokon Tosha received guidance from his grandfather, Roku Tosha, and his father, Hide Tosha, from a young age. In 2018, he was granted the stage name Rokon Tosha and, in the same year, became the first hayashikata musician to win the Grand Prize at the 31st Ichikawa City Cultural Foundation New Performers Competition. In 2019, he was awarded a scholarship from the Aoyama Foundation.
Tosha has performed at various prestigious venues, including productions hosted by the National Theatre, the “Hana-Kagami” production at Kanze Noh Theatre, and performances with the Nakamura-ya Kabuki troupe. His versatile career also includes collaborations such as the Pikotaro Budokan concert and projects with the comedy duo SUEHIROGARISU. Internationally, he has participated in performances across the United States, France, Chile, and South Korea.
In addition to traditional Japanese performances, Tosha established the Chirikara Go group, promoting a modern and innovative approach to Japanese music. He has been featured on NHK’s “Nippon no Geino” and was recently profiled on “Tokyo Kousaten”. His contributions also include participation in major television dramas such as “What Will You Do, Ieyasu,” “Hikaru Kimi e,” and “Ooku,” as well as film recordings for “What Did You Eat Yesterday?”
Bass Clarinet: Yukari Ando
Yukari Ando, born in Kashiwa City, Chiba Prefecture, graduated from Tokyo University of the Arts and completed her master’s studies at the same institution, receiving the Graduate School Acanthus Music Award upon completion. She studied clarinet under Kaoru Matsumoto, Masaharu Yamamoto, Hidemi Mikai, Kei Ito, Yusuke Noda, and A. Beverari. Additionally, she participated in masterclasses with W. Fuchs, P. Moragues, A. Carbonare, P. Berrod, and R. Guyot.
In 2016, Ando performed in the opera “L’enfant et les sortilèges” at the Seiji Ozawa Matsumoto Festival. She was a recipient of the Japan Federation of Musicians and Munetsugu Angel Fund Scholarships in 2019 and 2020. Her achievements include appearances at the 36th Yamaha Wind Instrument Newcomer Concert and the DAC Young Artist Recital Series. In 2018, she received the Selmer Paris Encouragement Award at the Nonaka Clarinet Academy, led by Philippe Berrod, where she was granted the opportunity to hold a recital. She is currently a clarinetist with the Kanagawa Philharmonic Orchestra.
Contrabass: Asuka Obata
Asuka Obata, a native of Taito Ward, Tokyo, completed her studies at Tokyo College of Music and earned her master’s degree from its Graduate School. She also completed training at the Toho Orchestra Academy and is currently a member of the Teatro Giglio Showa Orchestra. In the 12th ARTE International Mandolin Competition, she won second place, the highest award in her division.
Obata studied under Jun Saito, Shu Yoshida, Ryutaro Bei, and Iwashu Kuroki. In addition to performing as a guest with professional orchestras across Japan, she is dedicated to mentoring young musicians. Obata is active in mandolin orchestras as both a contrabass performer and educator. She serves as Assistant Music Director for the C&V Orchestra Mandolino and as Music Director for the Mandolin Ensemble Iris. She describes herself as a cat lover and shares updates on Twitter at @CbAsuka0104.
Piano: Nao Arioka
Nao Arioka, born in Fukuoka Prefecture, graduated from the Keyboard Instruments Program at Kunitachi College of Music and completed her master’s degree in accompaniment at the same institution. She performed at the 87th Newcomer Concert organized by the Yomiuri Shimbun. In 2019, Arioka participated in the Seiji Ozawa Matsumoto Festival Chamber Music Workshop: Lied Duo, where she received guidance from Mitsuko Shirai.
Arioka studied piano and ensemble performance under Takeshi Yamada, Minoru Umemoto, and Chiharu Hanaoka. Currently, she works as an ensemble pianist, a keyboard player with orchestras, and as a piano instructor. She has collaborated extensively with composer Hidekazu Nagai, performing in recordings for Nagai’s opera “Izumo no Okuni” and the song cycle “Zokubutsu.” Arioka also performed in Rencontre Concert Vol.1 held at Izumo Big Heart. She currently serves as an accompanist at Kunitachi College of Music and as an assistant performer at Senzoku Gakuen College of Music.
Stage Director: Kizuku Odawara (Art Creation)
Lighting: Kodai Aoyama
Hair & Makeup: Tomomi Tokuda
Organizer Introduction
Rojicoya is an organization dedicated to promoting Japanese traditional culture and arts. It provides opportunities for participants to deeply experience Japanese culture by inviting highly skilled instructors to host workshops and events. Its activities span a wide range of fields, including ikebana (flower arrangement), shodo (calligraphy), wagakki (traditional Japanese instruments), and stage production. The organization also leverages local history and cultural resources to contribute to cultural promotion and tourism revitalization.
In addition to planning and managing cultural events, Rojicoya Terakoya is involved in product development and projects introducing Japanese culture to international audiences. For example, it has led initiatives such as the “Adachi Hime and Goshiki Sakura Town Adachi” project and the “PRINCESS ADACHI FESTIVAL,” which blend traditional culture with contemporary performance.
The name “Terakoya” originates from the terakoya schools of the Edo period, where children gathered to study and grow. This reflects the organization’s mission to serve as a modern educational space for cultural learning. Rojicoya Terakoya aims to provide an accessible space, like a small hidden alley (rojji), where people can casually engage with and learn about Japanese traditions.
